A Comparison of Classical, Romantic, and Twentieth Century ...



|A Comparison of Renaissance, Baroque, Classical, and Romantic Styles |

| |Renaissance (1450-1600) |Baroque (1600-1750) |Classical (1750-1825) |Romantic (1820-1900) |

|Composer |Du Fay, Ockeghem, Josquin, Palestrina, |Monteverdi (late works), Purcell |Haydn, Mozart, Beethoven, Schubert |Beethoven, Schubert, Fanny Mendelssohn, |

| |Monteverdi (early works), Hildegard of |Vivaldi, Handel, Bach, Jacquet de la | |Felix Mendelssohn, Clara Schumann, |

| |Bingen (woman) |Guerre | |Robert Schumann, Chopin, Liszt, Berlioz,|

| | | | |Brahms, Tchaikovsky, Verdi, Wagner |

|Melody |NA |Major and minor tonality; Continuous |Symmetrical melody and balanced phrases |Expansive, singing melodies; wide |

| | |melody with wide leaps, chromatic tones |and cadences; tuneful; diatonic, with |ranging; more varied, with chromatic |

| | |for emotional effect |narrow leaps |inflections |

|Rhythm |NA |Single rhythm predominant; steady, |Clear rhythmically, with regularly |Rhythmic diversity and elasticity; tempo|

| | |energetic pulse; freer in vocal music |recurring accents; dance rhythms favored|rubato (flexible tempo) |

|Harmony |Modal Harmony |Chromatic harmony for expressive effect;|Diatonic harmony favored; tonic-dominant|Increasing chromaticism; expanded |

| | |major-minor system established with |relationships expanded, became basis for|concepts of tonality |

| | |brief excursions to other keys |large-scale forms | |

|Texture |Imitative polyphony |New monodic or solo style; polyphony in |Homophonic textures; horizontal |Homophony, turning to increased |

| | |late Baroque; polyphonic texture; |perspective |polyphony in later years of era |

| | |linear-horizontal dimension | | |

|Instrumental Genres |Derived from vocal forms; dance music |Sonata, concerto grosso, sinfonia, suite|Symphony, solo concerto, solo sonata, |Same large genres, adding one-movement |

| |(instruments not specified) |(instruments specified); prelude, |string quartet |symphonic poem; solo piano works |

| | |passacaglia | | |

| |Renaissance cont. |Baroque cont. |Classical cont. |Romantic cont. |

|Vocal genres |Madrigal |Sacred (Oratorio, Lutheran cantata), |Opera, Mass, solo song |Same vocal forms, adding works for solo |

| | |Secular (Opera, cantata), Mass | |voice and piano/orchestra |

|Form |NA |Binary form predominant |Ternary form predominant; aristocratic |Expansion of forms and interest in |

| | | |audience |continuous as well as miniature |

| | | | |programmatic forms |

|Audience |Church and court |Public theater |Secular music predominant; aristocratic |Secular music predominant; middle-class |

| | | |audience |audience |

|Dynamics |NA |Terraced (contrasting) dynamics |Continuously changing dynamics through |Widely ranging dynamics for expressive |

| | | |cres. and dim. |purposes |

|Timbre |NA |Continuous tone color throughout one |Changing tone colors between sections of|Continual change and blend of tone |

| | |movement |works |colors; experiments with new instruments|

| | | | |and unusual range |

|Performing forces |NA |String orchestra, with added woodwinds; |String orchestra with woodwinds and some|Introduction of new instruments (tuba, |

| | |organ and harpsichord in use |brass; 30-to-40-member orchestra; rise |English horn, saxophone); much larger |

| | | |of piano to prominence |orchestras; piano predominant as solo |

| | | | |instrument |

|Virtuosity |NA |NA |Improvisation largely limited to |Increased virtuosity; composers |

| | | |cadenzas in concertos |specified more in scores |

|Expression |NA | |Emotional restraint and balance |Emotions, mood, atmosphere emphasized; |

| | | | |interest in the bizarre and macabre |

| |Renaissance cont. |Baroque cont. |Classical cont. |Romantic cont. |

|Medium |A cappella vocal music |Concerted music (voices and instruments)| | |

|Sacred vocal genres |Mass and motet dominant |Oratorio, Lutheran cantata | | |

|Secular vocal genres |Chanson, madrigal |Opera, cantata | | |

|Use of preexistent works |Some works built on cantus firmus |Works are freely composed | | |

|Summary of Sonata-Allegro Form |

|1. Exposition (Statement) |2. Development |3. Recapitulation (Restatement) |

|Slow Introduction (optional) | ↓ ↓ |

|First Theme (or theme group) and its expansion in tonic |Builds up tension against the return to tonic by: |First theme (or theme group) and its expansion in tonic |

| |(a) frequent modulation | |

| |To foreign keys, and | |

| |(b) fragmentation | |

| |And manipulation of themes and motives | |

|Bridge—modulates to a contrasting key | |Bridge (rarely modulates) |

|Second theme (or theme group) and its expansion in | |Second theme (or theme group) and its expansion transposed |

|contrasting key | |to tonic |

|Closing, cadence in contrasting key |Transition back to tonic |Closing, cadence in tonic |

|(Exposition repeated) |↓ |Coda; cadence in tonic |

|↓ | | |

|Movements and order of the Mass |

|Ordinary (fixed portion) |Proper (variable portion) |

| |1. Introit |

|2. Kyrie | |

|3. Gloria | |

| |4. Collect * |

| |5. Epistle * |

| |6. Gradual |

| |7. Alleluia (or Tract) |

| |8. Gospel * |

|9. Credo | |

| |10. Offertory |

| |11. Secret * |

| |12. Preface * |

|13. Sanctus | |

| |14. Canon * |

|15. Agnus Dei | |

| |16. Communion |

| |17. Post-Communion |

|(18. Ite, missa est) | |

*Recited sections

Characteristics of Musical Impressionism

1. Whole-tone scale (beginning on C)

2. Example from Debussy’s Pelleas and Melisande, illustrating use of whole-tone scales.

3. Parallel movement of chords (octaves and open fifths) in example of 9th-century organum

4. Parallel movement of chords (fifths and octaves) from Debussy’s Sunken Cathedral.

5. Structure of a ninth chord built on C

6. Use of ninth chords in Debussy’s Pelleas and Melisande.

|Era |Composers |

|Renaissance |Du Fay, Ockeghem, Josquin, Palestrina, |

| |Monteverdi (early works) |

|Baroque |Monteverdi (late works), Purcell, |

| |Vivaldi, Handel, Bach, Jacquet de la |

| |Guerre, Giovanni Gabrielli, Corelli |

|Classical |Haydn, Mozart, Beethoven, Schubert |

|Romantic |Beethoven, Schubert, Fanny Mendelssohn, |

| |Felix Mendelssohn, Clara Schumann, Robert|

| |Schumann, Chopin, Liszt, Berlioz, Brahms,|

| |Tchaikovsky, Verdi, Wagner |

|Post-Romantic |Mahler, Strauss, Brahms, Rachmoninov, |

| |Berger |

|Impressionist |Debussy, Ravel |

|Post-Impressionist |Ravel, Debussy |

|Nationalist |Prokofiev, Bartok, Borodin, Musorsky, |

| |Grieg, Ravel, Debussy, Shostakovich, |

| |Sibelius, Elgar, Copland |

|Twentieth Century |Stravinsky, Aaron Copland, Shostakovich |

|Blues and Jazz |Duke Elington, |

|Twelve Tone |Schoenberg, Berg, Webern |

|Bold = Era | |

|Non-Bold = sub-category | |

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